Music and Politics Research Papers (original) (raw)

2025

The critical edition of Sibelius's works for mixed and female choir a cappella will be published by Breitkopf & Härtel (in Jean Sibelius Works volume VII/1) in 2011.

2025

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and... more

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

2025, Icons, Ornaments, and Other Charms of Christian Arabic Books, eds Oana Iacubovschi, Samuel Noble, Ioana Feodorov, De Gruyter, 2025 (pp.579-612)

Between the years 1711 and 1821, during the "Phanariot century", the ruling princes of the Danubian Principalities, Wallachia and Moldavia, were appointed by the sultan and quickly replaced, like any provincial governor, although they... more

Between the years 1711 and 1821, during the "Phanariot century", the ruling princes of the Danubian Principalities, Wallachia and Moldavia, were appointed by the sultan and quickly replaced, like any provincial governor, although they enjoyed a certain regime of autonomy within the Ottoman Empire. But who the Phanariot rulers, Greek or Greek-identified families of Constantinople, were, and how they came to occupy the throne is not for us to discuss here. The condemnation of the Phanariots' reigns, an era of hegemony of the Greek culture, was a particular focus of the Romanian scholarship of the mid-19th century, usually integrated with the despotic system of government and the resentment of foreigners as a whole.1 Until 1820, the language of education and culture in Wallachia was Greek, and Romanian was the language of administration and the Church. The first Romanian secondary school opened its doors in Bucharest in 1818. I would like to highlight the fact that, despite the negative fame they gained in the Age of Nations, the Phanariot princes were determined to do their job well, and, in the field of culture, they stood out as supporters of printing. In the early 19 th century, there were only two printing presses operating in Wallachia, both of which belonged to the Church: the Metropolitan printing press and the press of the Bishopric of Râmnic. These were on the verge of insolvency; the Metropolitan printing press even found itself unable to print the required liturgical books. Evidently, the Church did not publish books of a secular content.2

2025, Cuadernos de Historia Moderna

Fernandes, Cristina y Ortega, Judith (eds.), Música en las cortes ibéricas (1700-1834): ceremonial, artes del espectáculo y representación del poder, Madrid,

2025, HITEL folyóirat (2025. május)

Csurka István életrajzának megírásához nélkülözhetetlenek lesznek a kulturális jellegű, ám a korabeli hivatali szervezetben (főleg a minisztériumban) keletkezett iratok. Ennek első része az 1965 és 1972 között keletkezett iratanyag jelen... more

Csurka István életrajzának megírásához nélkülözhetetlenek lesznek a kulturális jellegű, ám a korabeli hivatali szervezetben (főleg a minisztériumban) keletkezett iratok. Ennek első része az 1965 és 1972 között keletkezett iratanyag jelen közreadása.

2025, Cuyo: Anuario de Filosofía Argentina y Americana

Una de las lecturas más influyentes sobre la actuación filosófica de Carlos Astrada durante los años peronistas del periodo 1946-1955 lo caracterizó como un “filósofo de Estado”. Esa formulación se sostiene documentalmente en la... more

Una de las lecturas más influyentes sobre la actuación filosófica de Carlos Astrada durante los años peronistas del periodo 1946-1955 lo caracterizó como un “filósofo de Estado”. Esa formulación se sostiene documentalmente en la conferencia pronunciada por Astrada en la Escuela de Guerra Naval en 1947, donde el pensador argentino desarrolló justificaciones filosóficas de la “tercera posición justicialista”. A la luz de la nueva historiografía sobre el peronismo, donde se complejiza la imagen tradicional del Estado peronista como un Leviatán todopoderoso que oprime la sociedad civil, se propone una lectura que restituye la historicidad de la actuación de Astrada en esos años complejos de la experiencia argentina.

2025

This article, co-authored by Anja Bunzel, Anthony Pryer, and myself, presents a hitherto under-explored facet of Eduard Hanslick: his activity as composer of (mostly) piano songs. The text accompanies a CD soon to be published with... more

This article, co-authored by Anja Bunzel, Anthony Pryer, and myself, presents a hitherto under-explored facet of Eduard Hanslick: his activity as composer of (mostly) piano songs. The text accompanies a CD soon to be published with Austrian Academy of Sciences Press.

2025, Music with a Message: Words, Music and Propaganda 2

American folk music is currently associated with the singersongwriter, on stage with a guitar, articulating his or her views on topical issues of the day. This has not always been so. Throughout the nineteenth century and the first half... more

American folk music is currently associated with the singersongwriter, on stage with a guitar, articulating his or her views on topical issues of the day. This has not always been so. Throughout the nineteenth century and the first half of the twentieth, folk songs were largely apolitical and anonymous, although often referring to topical developments such as disasters, battles, and murders. The approach changed, however, with the arrival of seminal folk musicians like Pete Seeger and Woody Guthrie in the 1930s and 1940s. This chapter will explore the evolution of political folk music from the American Revolutionary War (1775-1783) up to the early 1960s. The focus will be on songs that refer to key political events and take a clear stand on the issue at hand, including the American Civil War, Slavery, the Great Depression, and the Civil Rights Movement.

2025, Institutional Albanian Musical Culture in the State of Kosova

The following elaboration on musical culture focuses primarily on the Kosovo Philharmonic as an institution—its brief history, the reasons behind the lack and delay of Western orchestral music traditions in Kosovo, and several small but... more

The following elaboration on musical culture focuses primarily on the Kosovo Philharmonic as an institution—its brief history, the reasons behind the lack and delay of Western orchestral music traditions in Kosovo, and several small but crucial suggestions for a reorganization that could enable a qualitatively sufficient philharmonic.
Furthermore, as a potentially greater blessing, the grand potential of inspiring and transmitting Kosovo’s folkloric culture into the tradition of sublime orchestral music will be emphasized - something that should be actively promoted by institutional music policies.
Aside from objective issues, based on the absence of internationally recognized orchestral works from Kosovo, the main focus of this paper is on the subjective problem of the creators themselves: what they lack and what they need, beyond professional skills, in their aim to become universal and grandiose composers. Within this context, the value of a healthy and balanced intellectual background will be discussed as an inseparable organic part of the archetype of the complete composer.
In conclusion, precisely because of the vital importance of such a background, a brief overview of the key impulses of general cultural development throughout human history is offered. Along with social phenomena, this overview also reflects the evolutionary rhythm of music. Although very short for such a profound and expansive topic, this flash-summary is hoped to serve as a clear and simple example of a healthy, sufficient, and necessary intellectual foundation for today’s Albanian composer.

2025, Türkiye Barolar Birliği Dergisi

DAVID HUME’UN HUKUK VE ADALET ANLAYIŞININ HUKUKİ POZİTİVİZMİN DOĞUŞU SÜRECİNDEKİ ETKİLERİ THE INFLUENCES OF DAVID HUME’S UNDERSTANDING OF LAW AND JUSTICE ON THE EMERGENCE OF LEGAL POSITIVISM Özet: Bu çalışmada, David Hume’un hukuk ve... more

2025, (Lucca: LIM)

In the early post-war decades, Italy witnessed a vigorous development of both ethnomusicology and the folk music revival. Their relationship with folk music was complicated: while folk music was celebrated as a repository of... more

In the early post-war decades, Italy witnessed a vigorous development of both ethnomusicology and the folk music revival. Their relationship with folk music was complicated: while folk music was celebrated as a repository of anti-capitalist values, it was also discussed in terms that resonated with orientalist and classist tropes. This ambivalence emerges nowhere more clearly than in the numerous narrative and documentary films that featured folk music produced between the 1950s and 1970s, which contributed in unique ways to the lively discourse of folk music at this time. This book explores the intersections and exchanges between Italian cinema, ethnomusicology and the folk music revival during this period. Through a number of case studies, it investigates the dynamics of the remediation of folk music in fiction and documentary films, and discusses the cultural politics, aesthetics, medialities and techniques of this encounter between directors, film music composers and the folk music world.

2025, ALBANIAN STUDIES no 1,

This paper treats the historic and cultural circumstances how was established the first symphonic orchestra in Albania. For this reason, are presented the documents and the arguments how Thoma Nassi, the first conductor and composer of... more

2025, Contra e para além do Estado. Cultura política autonomista: as origens, a reemergência e o Brasil pós-redemocratização

Esta tese trata do que denominamos cultura política autonomista, aqui identificada enquanto parte da tradição socialista, particularmente a que se refere às correntes antiautoritárias, como os anarquismos, a tradição marxiana e os... more

Esta tese trata do que denominamos cultura política autonomista, aqui identificada enquanto parte da tradição socialista, particularmente a que se refere às correntes antiautoritárias, como os anarquismos, a tradição marxiana e os marxismos heterodoxos — com destaque para a primeira. Tensionada entre uma historiografia que prioriza ora as culturas políticas e experiências históricas relacionadas à tradição marxista-leninista ortodoxa, ora as relativas à socialdemocracia, a cultura política autonomista, correntemente, tende a ser preterida ou mesmo negada em sua existência. A partir de uma abordagem calcada nas perspectivas da Nova História Política, esta tese elenca três elementos fundamentais do imaginário e das representações do universo político autonomista: o princípio político do comum, a antifragmentação e a prefiguração. A partir desses referenciais, traça-se uma trajetória de longa duração, atravessando a constituição dessa cultura política, suas atualizações e submersões, bem como seu retorno ao centro da cena política a partir da Revolução do Maio de 1968. Passando, em seguida, pelo anarcopunk, pelo movimento antiglobalização da segunda metade da década de 1990 e desaguando no ciclo de protestos dos anos 2010, verificamos as formas pelas quais o autonomismo tem se expressado e se adequado às conjunturas contemporâneas, com destaque para o Brasil. A tese tem como base empírica dois textos clássicos de Proudhon, além de fanzines e referências do imaginário anarquista, bem como depoimentos de militantes e ex-militantes que atuaram no movimento antiglobalização no Brasil e/ou no ciclo de protestos de Junho de 2013, além, é claro, de dialogar com a bibliografia pertinente.

2025

Premessa LI studi storici sull'ambiente musicale bresciano, a differenza di altri centri cittadini, non hanno subìto battute di arresto nei tempi moderni. Dalle vaste esplorazioni archivistico-documentarie di Paolo Guerrini, che... more

Premessa LI studi storici sull'ambiente musicale bresciano, a differenza di altri centri cittadini, non hanno subìto battute di arresto nei tempi moderni. Dalle vaste esplorazioni archivistico-documentarie di Paolo Guerrini, che spesso hanno costituito imprescindibile materia per successivi ampliamenti o hanno rappresentato lo spunto per nuove ricerche, fino alle monografie e ai saggi degli studiosi odierni, la riflessione storiografica ha prodotto una notevole mole di scritti su molteplici argomenti inerenti varie epoche storiche. Nel solco quindi di questa salda tradizione si è svolto nel 2008 il conve-gno Musica e liturgie nel medioevo bresciano (secoli XI-XV) che, attraverso il contributo di studiosi e di giovani ricercatori, ha fatto il punto sulla musica medievale e sui suoi rapporti con gli articolati spazi liturgici in area bresciana fornendo aggiornate rivisitazioni di alcuni fenomeni già noti e proponendo, soprattutto, molte letture inedite di materiali codicologici (e...

2025

Introducao ao numero especial OPUS, dedicado a analise do processo criativo na musica, baseado nos resultados das pesquisas da equipe Analise de Praticas Musicais, IRCAM / CNRS / UPMC, Paris. O volume apresenta uma variedade de... more

Introducao ao numero especial OPUS, dedicado a analise do processo criativo na musica, baseado nos resultados das pesquisas da equipe Analise de Praticas Musicais, IRCAM / CNRS / UPMC, Paris. O volume apresenta uma variedade de perspectivas sobre o trabalho de composicao, a partir do estudo dos manuscritos, entrevistas, escritos dos compositores e acompanhamento passo-a-passo das etapas de criacao. Os compositores contemplados pelos estudos reunidos nesse numero (Pierluigi Billone, Gerard Grisey, Brice Pauset, Jonathan Harvey, Philippe Leroux entre outros) se inscrevem em diferentes linhas esteticas, o que tambem contribui para oferecer ao leitor uma visao multifacetada da musica europeia atual.

2025, Arte e Investigación

El trabajo propone reconsiderar los vínculos entre música y política y su valor para la producción actual de la historia musical, a partir del análisis de casos paradigmáticos del musicar y la musicología que revelan una dimensión... more

2025, İLKSES GAZETESİ

Adalet, insanın sadece hukuk kitaplarında karşılaştığı bir kavram değildir. O, hayatın tam ortasında, ilişkilerimizde, toplumsal düzenimizde ve hatta ruh sağlığımızda derin izler bırakır. Haksızlığa uğradığında içi sıkışan, öfkesi... more

Adalet, insanın sadece hukuk kitaplarında karşılaştığı bir kavram değildir. O, hayatın tam ortasında, ilişkilerimizde, toplumsal düzenimizde ve hatta ruh sağlığımızda derin izler bırakır. Haksızlığa uğradığında içi sıkışan, öfkesi dinmeyen ya da umudunu kaybeden bir insan, aslında yalnızca bir hak kaybı yaşamaz; ruhunda da bir yara açılır. Peki, adalet duygusunun eksikliği bireyin psikolojisini nasıl etkiler?

2025

Abb_1 Schwingungen und Teilungsverhältnisse Aus diesem beobachteten Zusammenhang von Musik und Zahl entsteht eine wechselseitige Entsprechung der beiden Elemente. Weiter glaubte Pythagoras, man könne durch die Mischung der drei... more

Abb_1 Schwingungen und Teilungsverhältnisse Aus diesem beobachteten Zusammenhang von Musik und Zahl entsteht eine wechselseitige Entsprechung der beiden Elemente. Weiter glaubte Pythagoras, man könne durch die Mischung der drei Tongeschlechter diatonisch, einer Molloder Dur-Tonleiter folgend, enharmonisch, eine harmonisch vertauschte Tonleiter und chromatisch, Tonleiter in Halbtönen fortschreitend, alle Affekte heilen. Mit dem Nómos 42 bestand in der antiken griechischen Musik ein festes Regelwerk, welche auch das Tonsystem der griechischen Antike beinhaltet. Dieses besteht aus drei Oktavgattungen: der dorischen, der phrygischen und der lydischen Oktavgattung. Alle werden aus dem Tetrachord, einer fallenden Viertonreihe in den Intervallen einer Quarte, gebildet. Dabei ist das Ausgangs-Tetrachord das Menson, griechisch für die Mitte, welches mit dem Diezeug-Menom, griechisch für das Getrennte, die dorische Tonleiter bildet. Werden im oberen und im unteren Tonspektrum jeweils ein Tetrachord Hyperbolaion und Hypaton addiert und ergänzt man zusätzlich die Tonreihe mit dem Prosiambanomenos, dem Dazugenommenen, so entsteht das gesamte Tonsystem, welches als Systema Télion bezeichnet wird. Der Tetraktys, welche sich aus den Zahlen 1, 2, 3, 4 ableitet, folgt eine zweite Tetraktys, welche aus den Zahlen 6, 8, 9 und 12 gebildet wird. In der pythagoräischen Musiklehre galt die Terz als nicht konsonant, da die Intervalle 4:5 und 5:6 aus keiner der beiden Elemente gebildet werden können. 43 Wörner beschreibt in seiner Geschichte der Musik, dass die Bedeutung, welche die Musik der antiken Griechen in der Musikwissenschaft auf das Abendland gehabt hat, ähnlich der Bedeutung für unseren Kulturkreis ist, wie die der Baukunst, der Plastik oder der Philosophie. 44

2025, Bach-Jahrbuch

Von Juliane Riepe (Halle / S.) I. "Dis-moi ce que tu lis, et je te dirai ce que tu es"? Das dem französischen Historiker Pierre de La Gorce zugeschriebene Diktum "Sage mir, was du liest, und ich sage dir, was du bist" gibt, so scheint es,... more

Von Juliane Riepe (Halle / S.) I. "Dis-moi ce que tu lis, et je te dirai ce que tu es"? Das dem französischen Historiker Pierre de La Gorce zugeschriebene Diktum "Sage mir, was du liest, und ich sage dir, was du bist" gibt, so scheint es, eine elementare Erfahrung wieder: Die Bücher, mit denen sich jemand umgibt, können ein Spiegel dessen sein, womit sich eine Person gedanklich beschäftigt. Ihre Auswahl mag berufliche Schwerpunkte spiegeln, verweist aber vielleicht auch auf die persönlicheren Neigungen und Interessen, auf die Gedankenwelt dessen, der diese Bücher besitzt und -vielleicht -auch liest. Kein Wunder also, das insbesondere die biographische Forschung daran interessiert ist, etwas über die Buchbestände und Lektüregewohnheiten ihrer Untersuchungsobjekte zu erfahren -dies umso mehr, wenn es sich um historische Personen handelt, über deren private Gedankenwelt sich wenig sagen läßt, weil entsprechende Quellen rar sind oder fehlen. Hätten wir ein Verzeichnis des Inhalts von Händels Bücherschrank (seinen Bücherschränken?), dann ließe sich möglicherweise ein klein wenig mehr darüber sagen, worauf dieser, was Privates betrifft, so wenig mitteilungsfreudige Mann seine Ge danken und Interessen richtete, wenn er sich nicht gerade mit Musik beschäftigte. Ein solcher Wunsch blieb jedoch bisher nicht nur, was Händel betrifft, unerfüllt. Von der großen Mehrheit der europäischen Komponisten des 18. Jahrhunderts (und früher) wissen wir nichts über die Bücher, die sie besaßen; bekannt sind weder Verzeichnisse noch mit einem Namenseintrag bezeichnete Exemplare aus ihrem Besitz. 1 Deutlich besser sind wir über die Gemälde-

2025, Musicology Today: Journal of the National University of Music Bucharest

Orthodox church music did not receive much interest in communist Romania, for well-known reasons. It is therefore to be expected that Orthodox chant would be rather absent from Romanian communist films or associated with negative or... more

Orthodox church music did not receive much interest in communist Romania, for well-known reasons. It is therefore to be expected that Orthodox chant would be rather absent from Romanian communist films or associated with negative or ridiculous characters.
On the other hand, musicologists have shown that the national-communist regime used medieval church music for propaganda purposes. It would be interesting to study the extent to which the publication of the earliest creations of Romanian cantors in volumes and LPs was paralleled by the presence of these pieces in films of the 1970s and 1980s. But would be such a correlation a clear evidence of the intervention of power in the creation of films or could it have other causes?
My paper brings together three different approaches, none entirely false, yet none entirely true.

2025, Cumhuriyetin İzinde Bir Ömür; Süleyman Beyoğlu'na Armağan

2025, Ñan. Revista del nuevo Santiago

2025, Hablemos de calidad de audio

Seguro que alguna vez has oído hablar del audio "Lossless" o del "Hi-Res Audio". Suenan a cosas muy técnicas o a palabras que solo usan los audiófilos empedernidos, ¿verdad? Pero, en realidad, son conceptos que pueden tener sentido para... more

Seguro que alguna vez has oído hablar del audio "Lossless" o del "Hi-Res Audio". Suenan a cosas muy técnicas o a palabras que solo usan los audiófilos empedernidos, ¿verdad? Pero, en realidad, son conceptos que pueden tener sentido para cualquiera que disfrute de la música y quiera entender un poco mejor cómo suena lo que escucha.
Hoy quiero contarte de forma sencilla qué significan estos términos, en qué se diferencian y, sobre todo, si de verdad merece la pena prestarles atención. Porque a veces se nos llena la cabeza de siglas y números… y lo que de verdad importa es cómo suena la música en tus oídos.

2025, South Asian History and Culture/Taylor and Francis

As cinema moved from exhibition theatres to cable television in the late-1980s pre-liberal License Raj 1 economy, the competitive music label market in India pushed its executives to look beyond the established modes of music making and... more

As cinema moved from exhibition theatres to cable television in the late-1980s pre-liberal License Raj 1 economy, the competitive music label market in India pushed its executives to look beyond the established modes of music making and selling. This development also collided with the growing cultural demand for new and 'fresh' female voices, and innovative audiovisual modes inspired by the MTV consumerism model of the West. Additionally, music videos of international popstars such as Madonna, Michael Jackson, etc. started making waves in India through direct and indirect channels. As a result, the influence of western music video culture led the music industry officials to rope in 'westernized in style, desi at heart' female performers to represent the new wave of alternative non-film popular music-collectively popularised by music labels and the media as Hindi Pop or Indipop. Moreover, the cultural impact of American popstar Madonna's stardom, performativity, and politics also played a critical role in the way the emerging Indipop 'divas' projected themselves, both in and outside the diegesis of their music videos, during the 90s MTV boom in India. Engaging with the textual and extratextual world of indipop music videos that belong to the 'new women' of the neoliberal-90s-Jasmine Bharucha, Alisha Chinai, Shweta Shetty, etc.-this paper attempts to track and locate the emergence of these 'non-film' 2 female voices in the traditional 'song and dance' aesthetic substructure of Bombay cinema.

2025, VENTURA

Artículo que repasa de manera breve la historia y evolución de la industria musical, de la producción y del consumo de música.

2025

La revolución digital ha calado hondo en nuestra actualidad. El vasto contenido musical parece no tener fin y la migración digital ya es un hecho. ¿Qué puede ser lo positivo y negativo de esto? ¿Demasiado control sobre nuestras... more

La revolución digital ha calado hondo en nuestra actualidad. El vasto contenido musical parece no tener fin y la migración digital ya es un hecho. ¿Qué puede ser lo positivo y negativo de esto? ¿Demasiado control sobre nuestras preferencias o la facilitación del surgimiento de ideas frescas e innovadoras?

2025, ICTMD STUDY GROUP ON MUSIC AND DANCE IN SOUTHEASTERN EUROPE: 2022

Folk dance was pivotal during the 1960s and 1970s for mobilizing masses and expressing political ideals of various groups on the left. This essay revisits this period, posing inquiries such as: How can we contextualize folk dance... more

Folk dance was pivotal during the 1960s and 1970s for mobilizing masses and expressing political ideals of various groups on the left. This essay revisits this period, posing inquiries such as: How can we contextualize folk dance traditions in the history of dissenting politics in Turkey? How did labor and socialist movements employ folk dance to counter the capitalist worldview and bourgeois values? How did differences in ideology influence the dance styles embraced by grassroots movements, both on the left and right? What are the continuities and discontinuities in repurposing folk dance for anti-hegemonic activism in Turkey? Lastly, how can we acknowledge the involvement of women workers in progressive politics, given their limited presence in historical records and photographs? By employing dance as a lens to examine labour struggles, I draw upon union archives, newspapers, memoirs, and audiovisual materials to contextualize folk dance as a tool for dissenting groups in Turkey’s recent history.

2025

voga ljeta zauvijek nas je napustila velika dubrovačka i hrvatska glumica Marija Kohn. Za sobom je ostavila iznimnu glumačku priču, jednu od onih koje su obilježile hrvatsko kazalište u drugoj polovici 20. stoljeća, ali i brojne intervjue... more

voga ljeta zauvijek nas je napustila velika dubrovačka i hrvatska glumica Marija Kohn. Za sobom je ostavila iznimnu glumačku priču, jednu od onih koje su obilježile hrvatsko kazalište u drugoj polovici 20. stoljeća, ali i brojne intervjue prožete sličicama iz njezina privatnog života koje bi dobrom romanopiscu ponudile obilje građe za kakav bildungsroman ili veliku obiteljsku sagu. Marija Kohn rodila se 1934. na otoku Lopudu uz koji je ostala vezana tijekom čitavog života, provodeći mnoga ljeta u staroj kući svojih predaka Đivanovića koja je navodno preživjela razorni potres iz 1667. Marijin otac bio je pomorski kapetan Antun O

2025, MATICA SRPSKA JOURNAL OF STAGE ARTS AND MUSIC 71

Throughout music history until today, the cultural and professional role of a musical performer has been perceived in various ways. The social function of a musical performer is, therefore, a question subject to numerous variations,... more

Throughout music history until today, the cultural and professional role of a musical performer has been perceived in various ways. The social function of a musical performer is, therefore, a question subject to numerous variations, depending on historical and geographical contexts, reaching far beyond musically-inherent roles. The "job" of a performer hardly ever consists of mere music playing but encompasses a number of private and public, musical and extra-musical elements, particularly nowadays. Each of these variables produces several different (yet, often interrelated) discourses that make "performance" and "performer" extremely complex and dynamic concepts. When looking at a pianist's record covers, posters, ads, or political representations of such classical musical performers as Yuja Wang, Igor Levit, or Hélène Grimaud, it is obvious that a "performer's discourse" is a rich mix of ingredients that may include, besides music, pop culture, rhetoric, advertisement, and ideology. This paper's objective is to propose a theoretical framework for considering a broader concept of musical performance. It seeks to demonstrate, using several historical and contemporary examples, whether classical musicians are willing or unwilling to employ their cultural and social status as opinion leaders, as well as various publicity tools, to promote important political, cultural, or social issues they believe in.

2025, Music and Politics

Popular music museums seek to produce a particular version of an ideal demos by explicitly constructing and articulating a collective understanding of popular music made material through rich, cross-media, sensory environments. In recent... more

Popular music museums seek to produce a particular version of an ideal demos by explicitly constructing and articulating a collective understanding of popular music made material through rich, cross-media, sensory environments. In recent years, the pursuit of these goals has been carried out through the construction of extensive collections of high-tech displays set in high-profile buildings in the presumed OEmusical capitals¹ of the world, such as Los Angeles, Liverpool, and Nashville. However, while some research has begun to consider the politics that fills the displays and exhibitions of these institutions, none has yet looked at the politics that built the museums themselves. This article shows that most major popular music museums are part of larger entertainment districts whose development has coursed along the exclusionary lines of neoliberal politics and economics. As such they produce a foundational disjuncture between the strategic deployment of the vernacular elements of popular music practice and experience as codified within a demonstratively spectacular logic of visual, aural, and material display. These institutions demand the translation of the demotic experience of musical sociality into spectacular environments in ways that must be compelling enough to obscure the tensions produced their material foundations and development.

2025, İlketv

Eğer savaş, siyasetin başka araçlarla devamıysa; bugün Türkiye’de şiddetin terk edilmesinin ardından, siyasetin diğer araçları konuşmak, duymak ve eylemek dışında ne olabilir? Peki, kamusal alanın büyük ölçüde kolonize edildiği, geriye... more

Eğer savaş, siyasetin başka araçlarla devamıysa; bugün Türkiye’de şiddetin terk edilmesinin ardından, siyasetin diğer araçları konuşmak, duymak ve eylemek dışında ne olabilir? Peki, kamusal alanın büyük ölçüde kolonize edildiği, geriye kalanların da çeşitli toplulukların veya ideolojik kampların teatral performans alanlarına ya da söz konusu grupların galeyana geldikleri ayinsel ikna odalarına dönüştüğü bir ortamda, konuşma, tartışma ve eylemin ne ölçüde ulusal düzeyde (böyle bir düzey kaldıysa) dönüştürücü toplumsal rezonans üretebileceği ve barışın nasıl toplumsal bir talebe dönüşebileceği sorgulanmaya açıktır. Böylesine parçalanmış bir kamusal ortamda siyaset yapmak, yan yana gelerek çoğalmak ve nihayetinde barış içinde birlikte yaşamak nasıl mümkün olabilir?

2025, Musicology Today: Journal of the National University of Music Bucharest

In communist Romania, military bands were under a double subordination: administratively, logistically and financially they were part of the Army. From a professional point of view, however, the military band leaders wanted the bands to... more

In communist Romania, military bands were under a double subordination: administratively, logistically and financially they were part of the Army. From a professional point of view, however, the military band leaders wanted the bands to be part of the Union of Composers, in their real desire to professionalise and develop, and this will happen at the end of 1957, when they will become a subsection of the Union.
The present paper examines the ways in which the Bureau of the Military Music Subsection controlled, guided, censored and imposed the compositional subjects dedicated to brass bands, according to the ideological directions imposed on the Composers' Union by the Party, as well as the compositional techniques specific to this genre of music that musicians had to adopt in their works.The study is based on archives in the libraries of the Ministry of Defence and on the records of the Subsection of the Military Music.

2025, Greek National Opera

One of the most important operas of the 20th century, Lady Macbeth of the Mtsensk Distrirct changed Shostakovich's life. In 1935, a year after its initial triumph in Leningrad and Moscow, Joseph Stalin, General Secretary of the Communist... more

One of the most important operas of the 20th century, Lady Macbeth of the Mtsensk Distrirct changed Shostakovich's life. In 1935, a year after its initial triumph in Leningrad and Moscow, Joseph Stalin, General Secretary of the Communist Party of the Soviet Union, visited one of the performances. Two days later, the newspaper Pravda (Truth), the official organ of the CPSU, published the now famous article entitled "Confusion instead of Music." The unsigned text condemned the opera's music with descriptions such as "formalistic", "petty bourgeois", "coarse" and "vulgar". The opera was withdrawn and in the 1950s, after Stalin's death, Shostakovich reworked it, smoothing out the sharp edges. In its new form and with the title “Katerina Ismailova” it was presented in 1962. In its original form the work was restored in the West in 1978 and began to conquer one after another the major opera stages. The successful musical satire of basic institutions such as the church and the police, the deep lyricism that characterizes the music of the central heroine, but also the way in which Shostakovich inscribes in his music the aesthetics of different genres of utilitarian music, from music hall to circus music, give the work its distinctive quality. “Laughter in music is just as human and necessary as lyricism, tragedy, passion and other “high genres””, argued Shostakovich.

2025, Sachsenhausen the "concentration camp by the 'Reich' capital". Formation and developement

Sachsenhausen, the "concentration camp near the Reich capital city" was built in the summer 1936 at great cost to its inmates, while exactly the same time, only a few kilometres away, hundreds of thousands of people werde cheering Hitler... more

Sachsenhausen, the "concentration camp near the Reich capital city" was built in the summer 1936 at great cost to its inmates, while exactly the same time, only a few kilometres away, hundreds of thousands of people werde cheering Hitler at the Olympic Games. Sachsenhausen was described by "Reichsführer SS" Heinrich Himmler as "a completely new concentration camp for the modern age, which can bei extendet at any time". Just eight kilometres from the gates of Berlin, this was the first large, purpose-built concentration camp complex. Planned in every detail by an SS architect, it served at the same time as a model camp and an SS training centre. This book traces the developement of the camp up to the departure of its first commanddant Karl Otto Koch in the summer of 1937. It includes not only crucial documents and plans, but also nearly 100 photos of this initial construction phase.

2025

This paper examines the contested evolution of musical modernity in the Turkish Republic by tracing two pivotal moments: the Kemalist era's state-led efforts to construct a Eurocentric musical identity and the popular rise of Arabesk... more

This paper examines the contested evolution of musical modernity in the Turkish Republic by tracing two pivotal moments: the Kemalist era's state-led efforts to construct a Eurocentric musical identity and the popular rise of Arabesk music in the late 1960s–1980s. While early Republican reforms sought to align national music with European polyphonic traditions, Arabesk emerged as a powerful countercurrent that both resonated with the masses and subverted official cultural ideologies. Through an interdisciplinary analysis of a wide range of primary sources—including archival materials, media, song lyrics, and fieldwork conducted in Turkey—this study reveals Arabesk not merely as a cultural anomaly, but as a critical site of public contestation over the meaning of modernity in early Republican Turkey. By situating this musical phenomenon within broader intellectual and political debates, the paper contributes to Turkish studies and addresses the disciplinary gap between history and musicology in non-European contexts.

2025

This study examined the role of the traditional "Phân Thoàn Tâu" ritual in Bố Y weddings, highlighting that it was not only a form of folk singing but also a unique cultural communication practice of the Bố Y community. Through content... more

This study examined the role of the traditional "Phân Thoàn Tâu" ritual in Bố Y weddings, highlighting that it was not only a form of folk singing but also a unique cultural communication practice of the Bố Y community. Through content analysis of song lyrics, participant observation at weddings, and interviews with artisans and community members, the study provided in-depth insights into the formation, artistic characteristics, and socio-cultural significance of this ritual within the context of intangible cultural heritage. The findings indicated that "Phân Thoàn Tâu" was not merely a performance tradition but also a structured form of communication between two families, conveyed through symbolic lyrical exchanges and expressed through refined melodies. This distinctive style set "Phân Thoàn Tâu" apart from the more spontaneous wedding singing practices of some other ethnic groups. Beyond its aesthetic and ritualistic values, this practice played a crucial role in strengthening social relationships, transmitting intergenerational knowledge, and fostering community cohesion. Through a comprehensive analysis of "Phân Thoàn Tâu" as a case study of musical communication in ritual contexts, the research clarified the complex relationship between oral traditions, cultural identity, and heritage sustainability. By positioning this practice within the global discourse on intangible cultural heritage, the study emphasized the urgency of documentation, preservation, and adaptive development to ensure its continuity amid rapid socio-cultural transformations. These findings also contributed to broader discussions on the preservation of folk music among ethnic minority groups and the safeguarding of traditional oral art forms in multicultural societies worldwide.

2025

Trabajo de Grado presentado como opción parcial para optar al título de Licenciado (a) en Música.

2025

Trabajo de Grado presentado como opción parcial para optar al título de Licenciado (a) en Música.

2025, kultúra.hu

Mi jellemezte a Magyar Hanglemezgyártó Vállalat (MHV) első évtizedeiben a klasszikus lemezek kiadását? Cikkünkben a vállalat kezdeti időszakával foglalkozunk, és olyan meghatározó pontokra fókuszálunk a történetéből, mint az első... more

Mi jellemezte a Magyar Hanglemezgyártó Vállalat (MHV) első évtizedeiben a klasszikus lemezek kiadását? Cikkünkben a vállalat kezdeti időszakával foglalkozunk, és olyan meghatározó pontokra fókuszálunk a történetéből, mint az első Bartók-összkiadás és Fischer Annie Liszt-albuma.

2025, University of Alberta

This dissertation presents a critical examination of the development of Persian classical music (PCM) in the post-revolutionary period, from 1979 to the present. Focusing on the major works and activities of four influential musicians,... more

This dissertation presents a critical examination of the development of Persian classical music (PCM) in the post-revolutionary period, from 1979 to the present. Focusing on the major works and activities of four influential musicians, namely Faramarz Payvar (1933-2009), Mohammad Reza Lotfi (1947-2014), Parviz Meshkatian (1955-2009), and Ardavan Kamkar (b. 1968), along with detailed musical analysis of some of their works, this dissertation aims for a better understanding of the development, challenges, and creativity of Persian classical music over the past four decades. The music activities of post-revolutionary Iran have fluctuated along with other socio-political events, from the severe restrictions of music in the early months after the Revolution to gradually loosening the restrictions and allowing the practice of musiqi-ye qeyr-e tarab (‘ethical music’)—without giving a clear definition of the term—by the decree of the Ayatollah Khomeini to the vibrant classical music life of today, with thousands of musicians practicing, performing, publishing, and teaching music across Iran, albeit with some restrictions, especially for female singers. Through fieldwork, interviews, and music analysis, the performance, teaching, and compositional styles of the four musicians are examined within their cultural contexts, from the pre-revolutionary period to the present time. The music analysis of this dissertation builds upon the current ethnomusicological and musicological literature to elucidate the ongoing progress of musical creativity and how musicians navigated and negotiated to continue their activities despite a hyper-politicized period when Iran went through a revolution, an eight-year war with Iraq, multiple foreign sanctions, and domestic upheavals. The author’s three decades of professional career in the field of Persian music as a performer, composer, and music director of multiple projects have been embedded in this study, offering an insider’s perspective.

2025

This chapter explores musical programming on Greek television during the military dictatorship (1967–1974), a largely understudied topic. Focusing on Radioprogramma/Radiotileorasi, the official magazine of the state broadcaster, it... more

This chapter explores musical programming on Greek television during the military dictatorship (1967–1974), a largely understudied topic. Focusing on Radioprogramma/Radiotileorasi, the official magazine of the state broadcaster, it analyzes textual and visual representations of popular music. Key questions include the role of popular music in TV scheduling, how it was framed, and what meanings it conveyed. Using tools from critical discourse analysis, the chapter sheds light on emerging musical typologies and their relation to broader cultural policies of the regime. It contributes to the dialogue between popular music studies, ethnomusicology, media, and cultural studies, highlighting the regulatory role of mass media—particularly television—in shaping cultural production and social consensus during this period. The research is based on material from the ERT Archives, the National Audiovisual Archive, and online sources.

2025, Enc. Iranica

Tajik Soviet Encyclopedia), the first general encyclopedia of Tajikistan, published in the Tajik Persian language and Cyrillic alphabet (8 vols., Dushanbe, 1978-88).

Enc. Iranica VIII/5, pp. 463-465, 1998

2025, Bosnian / Croatian / Serbian

Ivan Jarnović/Giovanni Giornovichi1 (1747–1804), slavni violinski virtuoz, koncertirao je u mnogim europskim gradovima i na plemićkim dvorovima izvodeći vlastite skladbe. U tekstu se analizira njegov nedavno istražen kratak boravak u... more

Ivan Jarnović/Giovanni Giornovichi1 (1747–1804), slavni violinski virtuoz, koncertirao je u mnogim europskim gradovima i na plemićkim dvorovima izvodeći vlastite skladbe. U tekstu se analizira njegov nedavno istražen kratak boravak u Stockholmu početkom 1803., a njegova se aktivnost uspoređuje s tipovima i mogućnostima djelovanja u ostalim europskim središtima, što baca i posebno svjetlo na kulturnu klimu u švedskoj prijestolnici.

2025, razonypalabra.org.mx

La evolución de las formas de ejecución, transmisión y recepción de la música durante este siglo ha estado ligada no sólo a la construcción de nuevos instrumentos musicales, sino también a la invención de artefactos electrónicos de... more

La evolución de las formas de ejecución, transmisión y recepción de la música durante este siglo ha estado ligada no sólo a la construcción de nuevos instrumentos musicales, sino también a la invención de artefactos electrónicos de reproducción musical y de nuevos ...

2025, Routledge

Weida Wang explores how Western classical music (WCM) has become increasingly popular in China, framing the industry as a complex entity intricately embedded within China’s political landscape, cultural economy, and cultural industries.... more